Archive for February 2015

Before the Oscars bestow their list of winners on Monday, it’s time to rank the Oscar Best Picture nominees for film year 2014. Unlike in 2012 and 2013 though though, it’s the first time that the Academy nominated only eight films for the top award. It’s a pretty good batch as a whole, though I have lots of reservations with the films in it, and how I wish Gone Girl made it over some of these clunkers in this batch. Anyway, here are my rankings:

08. THE IMITATION GAMEDirector: Morten Tyldum

In first of the two British Oscar-contending films this year, this one is about one of Britain’s uncelebrated heroes of his time. Alan Turing has a very interesting story to tell; his team was able to crack the “unbreakable” Enigma leading to a World War II victory. The achievement would be of no value though as he was prosecuted for his homosexuality. What could have been a narration of such story was put to waste with the film’s very pedestrian treatment to it. Hackneyed dialogue, cliched treatment, and uneven focus on the story made the whole film totally disengaging. As if that’s not offensive yet, Benedict Cumberbatch’s campy portrayal is equally eye-roll worthy. With subtlety not existing in his dictionary, Cumberbatch spits every syllable of every word in every line as if it’s his last. Leave it to the sublime Keira Knightley to save the film, together with Alexander Desplat’s score. What might be the biggest missed opportunity here was the film just glossing over a part of Turing’s life that deserved the most attention. Oh well.

2.5/5

07. THE THEORY OF EVERYTHING Director: James Marsh

The second of the two British-Oscar contending films this year, this one is about celebrated science figure Stephen Hawking. His name, probably more known because of The Big Bang Theory above many other reasons, has an equally compelling story to tell, and director James Marsh milked it for all its worth. Theory completed the handbook of how to do an Oscar-baity movie 101 highlighting the romance and the disease and the drama in succession. I have to say that I was initially hooked but easily worn out by the film’s cinematography using endless filters that really doesn’t offer much except to inform us that hey they really do have lots of filters. The film does a successful job of reminding us that it’s the British cousin of A Beautiful Mind, and if you digged that one, chances are you’d really enjoy this as well. Unlike Cumberbatch in Imitation Game, the only thing I appreciated about the film is Eddie Redmayne’s completely dedicated performance as Hawking. There is more than just the physicality of the role that he embraced which made it work. He might not be my pick for Best Actor at the Oscars, but one can’t deny that he did justice with his character.

2.5/5

06. AMERICAN SNIPER Director: Clint Eastwood

Clint Eastwood, except for that Best Director nomination, is back to Oscar’s good graces with his latest effort. American Sniper is based on the life story of Chris Kyle — known as the deadliest marksman in the US military with 255 bodies credited under his name. Aided by Bradley Cooper’s intense performance of Kyle, he manages to carry the whole film in his shoulders in spite of the noticeable flaws in the writing. While Eastwood delivered on the technical aspects further escalating the tension and making us feel the nitty gritty of it all (the whole sandstorm part in particular), the film weakens every time it shifts to Kyle’s own personal dilemma of dealing with his PTSD. I wasn’t even bothered by its by the numbers approach nor Eastwood’s political (or apolitical, depending on how you view it) favoring of his own take on militarism in the film. American Sniper could have been a more affecting film had it managed to strike the balance of both, but where one aspect Eastwood delivered, the other lacked. For what its worth, it’s still a solid, if not a bit pedestrian, and decent tribute to someone others consider as a figure of their American hero.

3/5

05. BIRDMAN Director: Alejandro Gonzalez Inarritu

There’s a lot of things I loved about Inarritu’s Birdman. As for starters, there’s Michael Keaton’s comeback performance. And Edward Norton’s larger than life character. Then there’s the dark absurdity of the whole film which easily grabs your attention. Plus, the one long take approach of it. Lubezki’s cinematography and Antoio Sanchez’ underrated scoring are also top notch. While all of these seem to mesh out well to create a masterpiece, it still feels a bit underwhelming and not that exhilarating cinematic treat for me. The film has been too self-absorbed to the point that its ‘mocking’ of portraying Hollywood is as foolish as its portrayal of such. Birdman for me is a case of the individual parts being better than its sum where the gimmick hasn’t really stayed that much for me.

3.5/5

04. SELMA Director: Ava Duvernay

What makes the experience of cinema fascinating is when you witness a story, that in no way, shape, or form involves you, but touches your heart with what it presented to you. That is what Ava Duvernay did with Selma. On the outside, one might consider it as another general biopic advocating the human triumph, but what makes Selma much more sophisticated is that there is a raw sincerity with the lines, and the portrayals, and the technical peaks that it is definitely on a higher pedestal. What Duvernay accomplished here is to flaunt her cinematic potential while retelling a story whose effect aligned with the personal journey of the people during its time. Also, David Oyelowo’s snub will easily go down as one of the worst ever in Academy history. Selma is sensible and sincere that you can’t help but be affected by it.

4/5

03. THE GRAND BUDAPEST HOTELDirector: Wes Anderson

It’s really difficult to pin down Wes Anderson films since there’s a lot that we can discuss about his efforts, but I guess let’s start with the obvious. In true Anderson fashion, this one is probably his most deliciously looking film ever. One thing I’ve always appreciated about him is how he builds his own world and that it elevates the whole movie watching experience. In here, the Budapest hotel isn’t merely a background because it’s a star of its own with its use of wide space and set. And can we talk about Milena Canonero’s costume design here? ASTONISHING. With that said, the real deal here is Anderson’s storytelling. I’ve felt that it was his own homage to arts in general. His take on loyalty, passionate love, death, first love, and friendship among others was written with both poignancy and silly humor. Plus, of course that ever reliable ensemble with Ralph Fiennes front and center. Budapest is funny yet tragic, charming and whimsical, and a very delightful movie experience.

4.5/5

02. WHIPLASH Director: Damian Chazelle

A year after his short film of the same title won the Short Film Jury Prize award at last year’s Sundance, Damien Chazelle translated “Whiplash” into a full length feature film and has made the festival rounds from Sundance to Cannes and Toronto the past few months. The film tells the story of aspiring jazz drummer Andrew Neyman (Miles Teller) who undergoes training under notorious jazz conductor Terence Fletcher (J.K. Simmons) who has an atypical way of mentoring his students. The film did not waste any opportunity to build the intensity as we’ve seen from the interaction of Andrew and Terence in the opening scene. And there’s no stopping from there. Well crafted for the most part, particularly its creative, albeit really showy, editing and the musical score which heightens the tension further. Chazelle directs this with such precision making his audience feel the same discomfort that his characters feel, and his screenplay did not box the people as simply black and white; instead he composed them as larger than life ones — probably juxtaposed with the characters’ ambitions. J.K Simmons was every inch scary as the foul mouthed, no holds barred perfectionist maestro and there’s a level of brutality that his presence exudes. Rhythmically in sync though was Miles Teller, who should be given equal credit as he plays to Simmons’ level letting his Andrew be intimidated yet inspired with his verbal abuse. Whiplash is a painful reminder that greatness is no easy feat and that it literally takes blood, sweat, and tears to be achieved.

4.5/5

01. BOYHOOD Director: Richard Linklater

Richard Linklater’s 12 year in the making masterpiece is as ambitious as one can get, but the simple and organic approach in its depiction of a slice (is it even just a slice?) of life is certainly one of the most emotionally affecting movie watching experience I’ve ever had. This film follows the life of a kid, Mason, for 12 years as he experiences the highs and lows of his life. It wasn’t really alienating per se since Linklater is very much self-aware that Mason and everyone around him are as ordinary as us or the people around us. Its depiction of “life just going by” is probably one of the least pretentious yet most effective I have ever seen not because of the statement that it leaves, but by refusing to dictate such. There’s a line in the film mentioned by Patricia Arquette where she said “I just thought there would be more…”, and that perfectly sums up the film for me – that the experiences and the time that already passed by can either be a memory of what we were before and a reminder of what have become. Despite running for 165 minutes, I would have been more than fine to see two to three more hours of it. Its use of pop culture references (Pokemon! Harry Potter! Lady Gaga!) and music (Coldplay! Aaliyah! Family of the Year!) is a highlight to this experience as well. In the end, more than the achievement of such a “stunt” project (if one can even call it that), what makes Linklater’s Boyhood every inch effective and memorable is that it was able to capture the accuracy of one’s growing up beyond its literal meaning. The feelings you invested in these characters are too much and too deep that you just don’t want it to end. Well in my case, I really don’t.

5/5

How many have you seen from this year’s batch? Which are your favorites? And who would you be rooting for come Oscar night? Talk to me about it by tweeting me: @nikowl

On Sunday (Monday morning here in Manila), music’s biggest night is about to happen. Well that’s an exaggeration of some sort truth be told, but hey despite what we rant about the Grammys 100+ categories or how there are more performances than awards every single year, we still give them a free pass when they give us moments like that of Daft Punk’s cool performance that had everyone bopping, or the reggae tribute two years ago with Sting, Bruno Mars, and Rihanna. So before we watch this year’s telecast that will feature performances from Kanye West, Rihanna, and Sir Paul McCartney to the Selma tribute of John Legend, Beyonce, and Common, we predict those who will be ending the night as Grammy winners in nine different fields.

PREDICTION: “Shake It Off” (Taylor Swift) Shake It Off doesn’t really fit the mold of a ROTY winner, but then again this is a pretty weak lineup. I don’t see Fancy or All About That Bass winning this and Chandelier is more of a SOTY mold. You know we’re bound to get a Taylor ROTY now or in the future right? So let’s just keep this one off the Grammy’s bucket list already.

ALTERNATE: “Stay With Me (Darkchild Version)” (Sam Smith) I don’t know if the Darkchild version will confuse voters or not, but if they love Sam Smith and will shower him with Grammys on that night, then expect at least an Adele type of winning for this ballad.

PREDICTION: Beyonce, “Beyonce” This whole Beyonce era has been life-giving in so many ways that I think this is the perfect coronation night for Grammy’s most-nominated woman.

ALTERNATE: Beck, “Morning Phase” But hold on that weave, Bey. Sometimes, not because you’re the biggest artist means you’re taking the biggest award easily (see Arcade Fire over Eminem in 2010?). Beck has the respect and the critics to back him up. Either way, we’re getting a fantastic winner with these two.

SONG OF THE YEAR“All About That Bass,” (Meghan Trainor)
“Chandelier,” (Sia)
“Shake It Off,” (Taylor Swift)
“Stay with Me,” (Sam Smith)
“Take Me To Church,” (Hozier)

PREDICTION: Chandelier(Sia). I think Sia becoming a go-to songwriter of the biggest popstars gives her a bit of an advantage here. And not to discredit the song itself, it’s an equally deserving SOTY material.

ALTERNATE: Stay with Me (Sam Smith). That said, Stay with Me is such a Grammy catnip here that I won’t be surprised if they go with the straight ballad in this group.

BEST NEW ARTIST
Iggy Azalea
Bastille
Brandy Clark
HAIM
Sam Smith

PREDICTION: Sam Smith. They could have mailed him the actual Grammy since the announcement for all I know.

ALTERNATE: Brandy Clark. Never underestimate the country bloc especially someone who has been churning out hits for some of the biggest country names right now.

This one would be an easy win for Sam Smith regardless if he goes home with many Grammys or not. Maybe he’s shoo-in category after Best New Artist. Watch out for Oscar nominee John Legend though in one of the year’s biggest hits and vocal venues.

What an absurd category. It seems like except for Bang Bang, you can make a case for any of these songs. Fancyhas the General Field nomination, but somehow it’s not a guarantee here. Let’s just go with the AC catnip here of Say Something.

With two Album of the Year nominees here, it’s definitely between these two Brits. I give the advantage to Ed Sheeran though, as I see it is a consolation for his great year. Plus you know they’re dying to reward him with a Grammy already.

This one’s a bit tricky. The easiest name-checking would definitely be Bennett and Gags especially since Bennett is a regular winner here. But don’t underestimate Barbra Streisand’s strong narrative on her successful comeback album. I can see this one getting really close.

I think the throwback to these two 90s R&B names would be enough to give them comeback Grammys since their last wins over a decade ago. Watch out for Aloe Blacc though just because he has the crossover appeal of The Man.

Eminem has the biggest album of the bunch, and this field loves to rubberstamp winners so there ‘ya go. Imagine the pandemonium among the people and the rap community though if Iggy Azalea wins this. LMAO.

Miranda has the biggest hit of the bunch, and her only Grammy is for a vocal performance, so I’m quite complacent with this one. Carrie poses a big threat, but last year proved she still loses (and even gets snubbed!) in this category.

SONG WRITTEN FOR MOTION PICTURE
“Everything is Awesome,” (Tegan & Sara with The Lonely Island) from The LEGO Movie
“I See Fire,” (Ed Sheeran) from The Hobbit: The Desolation of Smaug
“I’m Not Gonna Miss You” (Glen Campbell) from Glen Campbell: It’ll Be Me
“Let It Go” (Idina Menzel) from Frozen
“The Moon Song,” (Karen O) from Her

To the other nominees, let it go. There’s no way you’re winning this over the instant fairy tale classic.